New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-07-24
OPERA IN THE VERNACULAR

Tie scandalous end Of the American or National
Opera Company viii have other and further
reaching results. il is 10 be feared, thah those
which will flow directly ont OF the whripooi VI
litigation into which all connected with the en-
terprise will next be plunged. Ii there Is o"'
City per ccntum Of truth in many stories "hich
have been bruitcd about ever since the company
started on it's inglorious career the triai Oh 'i'
cases threatens 10 discover state OF aialrs
which will throw strange light on the manage
mcnt OF the concern, and cause the sagaelty OF
many and the honesty Of few concerned In 10
&c be strongly questioned. In the end, however,
il is more than probable the singers anu dancers
4ond Il stors, machinists and supernumeraries VINO
relied on the integrity Of the stockholders VIII
De paid.
IL is fervently 20 he hoped for more reasons IMAM
one that the financial settlement VIII encounter
ms little technical obstruction as possible. With
ont Justice. but through the efIrontcry OF the
management and the complaisancc oil the puohc'
something like a national stamp was impressed
on the undertaking. Therefore complete ex-
posure Of the moral rottenhcss which pervaded
nearly its every department would be akin
70 a national humiliation. This might be spared
us for the sake of the cause. 1t is enough that
those who have been striving honestly and UNI
seldshly 70 advance the standard OF musicai
culture In the United States, To encourage
American composers and TO prepare the way ior
operatic representations III the vernacuhr, whch
shall fully satisfy a refined taste taste In har-
mony with the obvious musical destiny oil the
American peoplc-t is enough that these true
friends OF music are obliged now to confront
obstacles put in the path of progress by the
unwisdom, selishness and arrogance Of those
who administered the artistic as well as the
business affairs Of the American Opera Company.
In this view of the 1t would lie difficult
10 find words too harsh for a Characterization OF
the American Opera Company. From the begin
ming there has been in its course large element
of false pretence and imposture. 1t demanded
the support Of press and public on the dishonest
plea that it was realization OF the first worthy
effort 70 give opera in English in America, when
everybody knows that there has scarcely been
year since The Bcggar's Opera" was first per-
formed in Ncw-YorlS one hundred and thirty
seven years ago, in which the American people
have not been privileged to listen TO operas sung
in their own language; and that with scarcely on
exception tho singers in the American company
possessed Of working knowledge Of the English
tongue, had earned their livelihood for years in
English opera companies. Some OF these
panies did not represent high standard Of art,
but in advancing their claim the managers OF
the American Company slandered many reputable
organizations whose achievements were in every
respect dignificd and praiseworthy, such ms tho
troupcs headed by artists like Madame Parepa
and Caroline Richings, not TO go back TO the
DAYS OF Malibran, Caridori-Allnn, Braham, the.
Woodscs, the Seguns and many others whose
memories are yet green and fragrant
When the representations began another and
n more serious cause OF action accrued against
the American Opera Company. Ignoring the lines
of moral conduct and artistic action which lead
to its professcd aims, il sought to win the
support of the public through garshness Of
externals Money was lavished without stint
(but also without reason and without taste IL
the scene painting be omitted on the furniture
of the stage With this tinsel and a ballet
dressed TO appeal TO puerile tastes, it was hoped
TO beat down whatever criticism might be bold
and honest enough 20 address itself TO that want
OF insight into the real nature OF the lyric drama
in general and the operas of the American list
in particular, which was apparent at glance
to the veriest tyro in dramatic and lyric art.
Idle and worse than idle. foolish, and more than
foolish, spectacular extravaganza ran riot on
the stage The medieval Faust sang TO a
pyramid OF skulls and half q dozen skeletons
Cncluding one OF monstrous ptcrodactyD where
one skull and painted crocodile used to suffice.
The despsed Margaret" far from being forced to
content herself with deserted spot on the
stone floor Of the cathedral, knelt at an elegant
predieu inside the chancel rail "Scnta,r wear
ing high-heeled boots, and sitting In an armchair
upholstered with old-goId velvet, stared now at
q pyramid of gauze-gowncd spinning maidens,
now ut the picture Of o fishing smack with brick